ABSTRACT

This chapter focusess on the book looked at how people read still images of the face, but the face encounter every day is a moving face moving in two senses: it moves us, in terms of making us feel or do something, and it is a face in motion. Another common thread with much work on expression is that we find ourselves talking on the one hand about the person inside the face, moving the facial muscles, and, on the other hand, about the person outside the face. The discussion of Suzanne Optons photographs of soldiers, of course the one voice dont have is that of the subject in front of the lens. Drawing on the work on mirror neurons, David Freedberg and Vittorio Gallese argue that embodied responses constitute an important element of reactions to works of art. The assumption of separate, distinct individuality, with inner feelings and emotion signalled across this divide by facial expression.